Jaipur Gharana

Jaipur gharana is well-known for its penchant for rare raga-s as its staple fare. However in the majority of the cases these raga-s are rendered with great authority and sureness of touch. Also evident is a very detailed treatment indicating the assiduous thinking that has gone into the structuring of rags-elaboration. An aesthetically prudent decision makes the gharana rely mostly on a medium-tempo trital for most of its khayal compositions. As the attention of the listeners is sought to be drawn to the unusual raga-s from the repertoire, it is wise not to introduce novelty at the tala-end as well. Too much novelty is bound to tax audiences!

A consequence flowing naturally from the structure of rare raga-s is the complexity of phrases they are built on. It is, therefore, inevitable that the music made by the gharana is replete with intricate patterns. Its music moves more due to the high intellectual content than emotive quality. A corollary to the intricate alap-s is the weaving of tan-s of similar quality. The gharana impresses by a breathtaking display of designs executed with imagination and polish over large tonal spaces often encompassing at least two-and-a-half octaves.

With the importance attached to patterning in general, it is to be expected that the gharana would prefer the oft-repeated norm of using the vowel ‘a’ for elaborating melody. What is a bit surprising is the insistence on employing the vowel in all octaves, a feat known to require extensive training as well as long hours of practice.

It may be on account of its dhrupad-orientation but the gharana seems to concentrate on khayal alone. There does not appear to be any room for forms such as thumri, tarana, sadra, tapkhayal, and ashtapadi in its repertoire. However, in spite of its single-minded devotion to khayal, the gharana does not lack variety because of its amazingly large store of rare raga-s.

There is nothing in the vocalization or repertoire of the gharana which may restrict it to male voices. This is borne out by the wide following it has in all parts of the country.

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NAD-SADHNA INSTITUTE FOR INDIAN MUSIC AND RESEARCH CENTRE is a place where researchers in music education, professionals in related fields, as well as undergraduate, post graduate and PhD scholars, students and enthusiasts, can get together in a virtual exchange of information and knowledge in the field of Music Education and Musical Performance. Besides, our purpose is to work in areas as diverse as academic research, music and sound production, exhibition services, and the delivery of cinematic, music, and arts events. Nad Sadhna was founded in 2010 and is based in Jaipur, the city better described as the cultural capital of the Country. Having dedicated study facilities, extensive holdings of published and unpublished materials (books, journal and newspaper articles, scores and recordings), collections of recorded music and an audio visual laboratory.